Monday, January 06, 2014

Okay, here goes... looks like I've cracked through some of the image-posting issues I was having (previously). The new year has kicked in. I sketched up and colored this image the other day (drawing, below). I was out west for a couple weeks in October. The brief time I spent in the desert was just what I needed after working around the clock for the better part of 2013. The vast expanses out there...the enormity and beauty of it all, helped me realize that I need to slow down—to get back to writing comics and exploring ideas. Playing, really. This is me, playing.

I'd been able to get away from work in small windows last year—mostly time to hit the sketchbook to doodle. Been playing with markers more.

It's a nice break from working on the computer all day.

But I still have a lot of fun drawing away on the Cintiq, messing around with color.

So, the plan for the coming year is to set aside more time for this kind of play, and to dig back into writing and drawing comics again. We'll see how it goes. Like I mentioned in my previous post, you can follow along on tumblr, instagram, and twitter. I won't be posting as regularly over here.

Hey, I know a handful of folks still check in over here (thank you), so I apologize for the lack of updates...since September. I just tried to get a new post going but I'm running into compression and color issues. (Looks like I'm not the only one.) I post more regularly over on Tumblr and Instagram (bobjinx), so I recommend following along over there until Google and Blogger sort things out.

Tuesday, September 17, 2013

The Massachusetts Independent Comics Expo (MICE) is coming up in just a couple weeks. This year the festival is expanding to two full days, September 28 and 29. I was asked over the summer if I'd be interested in designing one of the posters, and this is what I came up with. Nothing too high concept—just a cute little mouse reading comics in a cozy nook of the forest.

I inked it in Manga Studio. Below is a postcard version with Shelli Paroline's overlay design. You might see them in and around Boston if you're lucky. Pick one up!

I'll be sharing a table with Dan Moynihan—with the usual assortment of comics and prints. I'll also be doing a workshop on character design, Saturday morning at 10:30. More info on that here, along with other scheduled panels and workshops. What else... I did a cover design for a monster anthology which will be debuting at the festival, too. More on that, soon.

Wednesday, August 14, 2013

Saturday, July 13, 2013

I have a new story in SpongeBob Comics #22 (in stores now!) and it's camping-themed. Around this time last summer, comics editor Chris Duffy asked me if I'd be interested in doing a comic with a poster spread in the middle—basically, a giant illustration. I'd just gone camping with some friends out on the Harbor Islands in Boston, so this is what I came up with. Below are a bunch of images which you can click to view larger, including the camping spread, which works as a pin-up poster.

I'll talk about color first, and then get into some of the sketches. Color has become increasingly important to me, which is sort of weird to say because it's always been important to me. But it's become an even bigger focus. I put a lot of energy into drawing, but I labor—probably over-labor—on color. I made a lot of specific choices going into this illustration. One may not seem like a 'color choice', but I decided early to stick with as much black line as possible—notable exceptions being the constellations in the sky and the blue line around the glow-jellies. I tried to balance bright yellows, blues, and pinks with neutral purples, browns, and greens. Some of these decisions may be at odds with official SpongeBob color branding (most characters use a colored line, and we're all familiar with flowery blue sky), but I always strive to stay true to the character designs and Bikini Bottom universe, which is full of campfire underwater-type gags. Not sure what to call it, but I had this image in my head of old Boy's Life and National Parks artwork, without any particular references in mind.

Here's my first sketch comp. A few interesting things to note—the 'claw' shadow in the lower left was originally supposed to be the enlarged claw of a little crab. But all sea animals in SpongeBob (besides the jelly-fish) usually take on humanoid forms. Besides that edit, everything else got in, which is great. I went with the Plankton bug-spray gag because it was more funny than the hammock. Staging it at night also meant I could use pockets of light to direct the flow—highlighting the individual gags.

Even though I've been doing most of my inking on the computer, I feel strongly about working the pencils on paper. I stuck two sheets of 11x17 copy paper together with tape, where I planned the whole composition, scanned it, and inked it in Manga Studio. You can see below, after talking with numerous folks including pals Chris Houghton and Dustin Harbin, that aliased bitmap lines are the way to go. I've made the switch 100%—and Manga Studio is perfect for inking directly in this mode. So much cleaner. This is also the first illustration I properly trapped and prepared for CMYK press, and it totally paid off. The comic printed beautify. Nice and sharp, and the colors are as close as I would ever expect.

This issue (#22!) features the likes of Maris Wicks, James Kochalka, Stephen DeStefano, and Joey Weiser to name a few. There’s more to my comic than what I'm sharing here (it has a beginning and an end), so pick up a copy if you see one at your local comics shop. My spread is smack in the middle.

Wednesday, June 26, 2013

You can now purchase the mini-comic I had at MeCAF and CAKE over at my online store. It’s 44 pages, black & white, and is the first full-length story featuring my brain character, who first appeared as my twitter avatar and later in a couple short comics in Heeby Jeeby Comix. Light on dialogue, the story is told entirely through pictures and panels. Below are pages 2-7 of the book as a preview—only scrapes the surface of the story. Again, you can buy it over here. I’ll sign and doodle in it for you. Thanks!

Thursday, June 13, 2013

I’ll be at the Chicago Alternative Comics Expo (CAKE) this weekend with all sorts of new stuff. I debuted Brain #1 at MeCAF, but I have a bunch more printed, folded, and stapled with a brand new color cover. I’m really excited to share this comic with everyone—it’s a 44-page mini. And I’ll have new prints—including the Bravest Warriors as Catbugs. As always, there will be plenty of Heeby Jeeby Comix on hand (issues #1-4). So come say hello! The festival runs Saturday through Sunday (June 15-16), 11am-6pm. I’ll be in the back corner at Table 21. You can see the full list of exhibitors, here.

Saturday, May 25, 2013

Last weekend I was at the Maine Comics Arts Festival (MeCAF), where in recent years my bud and fellow Heeby Jeeby cartoonist, Dan Moynihan, and I make Free Monster Drawings for anyone who asks. We get a range of teenagers, adults, and kids—people of all ages, really. The two of us take requests and whip up fun little doodles with our shared set of Crayola markers. People seem to like watching us draw, and everyone walks away with a smile. I love it! I always forget to take pictures, but Dan snapped a few.

I recall one kid who was there with his parents. A budding cartoonist, he wanted to know if we had any advice for someone just starting out. At a show like this, I ask kids if they draw comics, and I tell them how easy it is to fold, staple, and photocopy their own books. I add that they should share what they make online if they can. And I say to simply keep at what they're already doing—keep drawing, A LOT.

But it has occurred to me, a better version of those 'keep drawing' words of wisdom we all tout would be to keep drawing, make A LOT of drawings, and don't worry about making bad drawings.

We all start out that way, and then at some point, someone gives us the idea to slow down and make careful drawings. That same someone introduces us to an astonishing technique: If you draw lightly with a pencil, nice and slow, you can work out all your crazy little details and nuances, and THEN you can ink over it with a pen or marker, adding even more detail! Once you're told that you can and should plan out your drawings, it sticks. Because it works! And you can put that eraser to use in the planning stage, too. Why wouldn't you work this way? It's how the professionals do it, right?

I've been keeping a sketchbook, one that I should really be drawing in more frequently. About a year ago I wrote about how I've been drawing more with markers—specifically, freehand drawing with markers. By which I mean, I put the pen to the paper and I improvise. I try to shut off that planning part of my brain, and I make it up as I got along. I invent. This is the same thing Dan I do when we make those monsters drawings up in Maine. It should be no surprise, this is what most people refer to as doodling. But I'd argue that a lot of artists aren't doodling enough. Especially if you spend a lot of time on the computer. If you hit UNDO, you're not doodling. You're not allowing yourself that free flow of blending one mark into another.

Now, I get that doodling is not for everyone. And there are plenty of styles of art and drawing where that planning stage is incredibly important. Roughing in your forms, blocking in your composition, shading, making thumbnails—these are all important steps to creating professional caliber paintings, illustrations, comics...you name it!

Where I think doodling is important has more to do with discovery. Trying things. Messing around. The more you do it, the more familiar you are with how you draw in general. The more spontaneous your ideas will be. It puts you in touch with your imagination. And it frees you up from that pressure of making mistakes. Because who cares if you make a mistake? Work with it! And if you make a bad drawing, there's still plenty more room in your sketchbook to make good drawings.

You don't have to doodle with a pen, brush, or marker, but I do think the permanence of ink switches that planning thing off in your brain. I work in pencil a lot, too—especially when I'm designing characters and roughing in a complicated pose or gesture. You can certainly make quick doodley marks with a pencil that carry a lot of energy. But when I get stuck, I'm now in the habit or breaking out a chunky Crayola marker. I fill up page after page of drawings until something sticks. I like to be able to look back at the mediocre drawings, too. Something that also gets lost with UNDO.

I'll wrap this up by bringing it back to kids...learning how to draw, having fun drawing, but also working at it—getting better at drawing. No matter how good you are, you will make a lot of bad drawings. Oftentimes, you have to pound through a rough patch of bad ones to arrive at that good one.

Draw without that light under-penciling. Forget about planning. Make time for doodling.

Monday, April 22, 2013

I finally got an iPhone in January, and just around that time, Twitter launched the fun little app which I'm sure most of you know about by now, called Vine. It allows you take 6-second looping videos, with one of the simplest UIs around. Download it. It's free. Look me up, if you do (bobjinx).

Everyone figured out pretty quickly that it's a great app for on-the-go stop motion animation, because you tap on screen to record in quick cuts. I created this vine last night, with a bunch of post-its. Note:these videos have sound—you have to activate it (when they are embedded in-browser) to turn it on and off. It's on rollover; you'll see it.